for:
trumpet
trombone
piano
vibraphone, suspended cymbal ,hi-hat
aiOrb pljectanes
by christopher jette 2006
[email protected]
Notes for:
=================
All
-dynamic with a + sign indicate the next step up before the next
dynamic, this is used to show a slowly evolving crescendo or
decrescendo.
Each additional + sign indicates a little more
movement up toward the next dynamic. The progression from p to mp,
is p p+ p++ (etc) mp
- The large vertical lines that bisect multiple parts are
presented to highlight points of congruent dynamics. They are
included
to
help
the
ensemble
coordinate
entrances
and
relationships.
- Where one part is bracketed to “color” another instrument, the
performer should attempt to match the characteristics (attack,
sustain, decay, volume, etc) of the indicated instrument and blend
with it. The coloring instrument will inherently have a different
sound and should reduce volume in order to be present within but
not distinguishable from the instrument being colored.
- The italicized words in first measure (and later) are the be
spoken by the players. The piece should begin with the players
setting to play as is normal and then speaking, as if interrupting
the performance. Where indicated by repeat phrase the performers
should repeat the phrase as many times as necessary to fill the
duration.
- m36 forward, relative dynamics The dashed line between notes
indicates that the second sonority should match the current volume
of the sonority that it is attached to. In other words the
entrance of the second sonority is relative to the volume of the
first sonority.
- m 50 the arrows between dynamics indicate the next step in a
multi-instrument the crescendo.
- mm32-38 The Spoken Text phrase in all parts should be whispered
and repeated as many times as needed.
- At the end, hold the last measure until all of the sound has
dissipated and it is just on the edge of being an awkward silence.
================
Brass
- The “x” notehead in the brass part indicates blowing air through
the instrument.
The performer should attempt to focus the air
sound toward the pitch at which the x occurs.
- mm66-73 Step dynamics Note that trombone holds dynamic and does
not cresc or decresc as the trumpet does crescendo and
decrescendo.
- m183 - the 1 and 2 indicate two different timbal colors, 1 is
smooth and 2 is rough. The 2 should be noticeably different, but
not absurdly different. The idea is to change the color slightly,
while keeping within the delicate nature of the surrounding
material.
- m184 The trumpet should choose a Mute that accentuates the rough
tone. The trombone should choose a Mute that accentuates the
smooth tone.
- m210 The brass begin with an air tone, per the x notehead.
- m255 The Sss sound indicates that the brass players should
produce a continues “s” (as in “Snake”) sound, through the horn.
- m262/263 the brass players vocally produce a “poo” (as the p in
Pooh sounds, without the oo, ie. the airy sound) sound holding the
“oo” sound.
- mm276-278 The brass should repeat their indicated phrase. The
stems without noteheads are used to indicate the metric divisions
of the dynamic contour.
- m278 The brass players should choose the edgiest mute, in order
to accentuate the raspy sound.
- mm284-304 1 = Smooth, 2 = In-between raspy and smooth, 3 = Raspy
Trumpet
- m171 The valves should be depressed to produce a clicking while
blowing air through the horn. The x note head indicates the air,
while the stems indicate the clicking pattern.
- m194 The trumpet moves from blowing air to pitch and back to air
(air is indicated by the x notehead).
- m221 The trumpet should rip, hitting partials of the overtone
series and holding the top partial (not necessarily E) until the
end of the measure, at a piano dynamic.
- m229 As with m221, the trumpet rips up the overtone series and
holds the highest overtone possible, at a quiet volume.
- m290 The trumpet rips up the overtone series of F and holds the
highest partial possible.
Trombone
- m233 The trombonist vocally simulates the hollow growl of an
airplane flying overhead through the horn, as the percussionist
did in m211. The stem without a head indicates the length.
- m315 The Growl duration and dynamics are indicated on top of the
trombonists staff.
================
Percussion
- The triangular notehead in the percussion part indicates
cymbals.
The lower triangle (located on G, treble clef) is a
large suspended cymbal, while the top two (located on D and F,
treble clef) indicate the bottom (D) and top (F) of a hi-hat.
- Any Hi-hat that that is at or above forte and calls for a stick,
the butt end of the stick should be employed.
- m19 The jagged line in the vibes part indicates that the player
should rapidly run the mallet across the entire range of the main
set of bars, creating a pitchless mass of sound.
- m175
The diamond notehead indicates the bar on which the
harmonic should be articulated. Place one mallet on the mid point
node and hit it with the other (or place a mallet and bow the bar,
when indicated) producing a pitch 2 octaves higher than the bar.
- m181 the vibes should bow the note for the duration indicated,
if possible with one bowstroke.
- m208 Dampen the G and B flat but let the rest of the instrument
resonate.
- m211 The percussionist vocally simulates the hollow growl of an
airplane flying overhead. The headless stems are used to indicate
the metric divisions of the dynamics.
- mm277/278 the gliss on the cymbal indicates that the player
should rapidly run a wooden stick across the cymbal while
increasing the volume.
- m279 The gliss indicates rapidly running a stick across the the
large cymbal. While the lower pitch should be struck on the
vibraphone.
- m320 Rapidly run a stick across an open hi-hat and let it ring,
then bow the large cymbal and let it ring.
================
Piano
-if there is a vertical sonority, the dynamic at the bottom
applies to the entire piano sonority.
- m 81 etc. The “x” noteheads are used to indicate keys that are
silently
depressed
in
order
that
the
string
may
ring
sympathetically with other piano (and other instruments) activity.
This is sustained with by using the sustanuto pedal.
-The asterisk * notehead in the piano part indicates that the
pianist should slide their left foot off of the furthest left
pedal and allow it to snap back creating a percussive “smack!”
- The open square note head m.14 (and later) indicates scratching
of the indicated string. The different methods of scratching are:
1 - scratch with the finger pad without depressing the key. 2 scratch with the finger pad with the key depressed. 3 - scratch
with the nail without depressing the key. 4 - scratch with the
nail with the key depressed.
- m21 - piano - The last square notehead (with the accent) the
pianist should run the nails of one hand rapidly across the wound
strings(the lower register), creating a loud “zing.”
- m 175 Fldmn indicates a Feldman attack, wherein the piano key
is depressed just past the point of resistance, once there the
note is articulated.
This produces a very soft round attack,
common in performance of Feldmans music.
- m206 Flutter the Right Pedal, while keeping the Sus Pedal
depressed. The duration is indicated by the wavy line above the
top piano staff.
- m239 The pianist should rapidly scratch as many of the wound
strings with all the finger nails of one hand. This should be one
swift motion.
- m264/266 Strum all strings with only the central “x” notehead
pitch depressed, thus allowing it to ring.
? Questions ?
christopher jette::..
[email protected]::..
617.869.3968::..
www.cj.lovelyweather.com::..